A French woman took over as a feminist activist whose influential poster campaign emphasized the tragedy of sexist violence on the big screen and red carpet at the Cannes screening of “Feminist Repost” by Marie Perenes and Simon Depardon. ..
Political protests are apparently banned on the red carpet in Cannes. But already twice this year, the famous sidewalk has set the stage for dramatic protests calling for violence against women.
On Friday, a woman interrupted the red carpet premiere, undressed, and revealed the words “Stop raping us” on the torso next to the blue and yellow of the Ukrainian flag. Did. She was quickly covered and cheered up.
Two days later, feminist activists took over another premiere, spreading a long banner with the names of 129 women killed in France since the last festival. This time, the guards did not appear to be upset as the protesters in Kuroko stopped on the steps of the Palace of Festivals and emitted smoke from their cell phones hidden in their clothes.
Protest by members of University The activist group took place at the same time as the premiere of Ali Abbasi’s contest entry “Holy Spider” on the serial killings of sex workers in Iran. It was tied to another movie.Riposte fé ministe(“Feminist Repost”) was screened later in the day, recording their struggle to combat sexism, sexual violence and the tragedy of feminism.
Armed with brushes, glue, sheets of paper, University – Literally glue – is a wall with the slogan of condemning sexist violence, conducting economical, creative and highly effective campaigns to hear the voice of women in towns and cities across France. I filled it. The “Feminist Repost” by Marie Perenes and Simon Dupardon is their night raid as they bravely confront the law to stick the slogan on the street between the Covid-19 blockade and the curfew. Track.
“Sexism is everywhere-and we are,” says one popular slogan. “If you don’t want us inside, we’ll stick things outside,” said another posted at the entrance to the Breton City Art Gallery in Brest, where the group exhibition features only male artists. People read. Actions and messages University Pioneer public spaces and counter male ubiquity with street names, façade construction and graffiti.
“Did you notice the number of cooks drawn everywhere during the Tour de France?” Asked confusedly. Colleuse In one of the many glorious lines of the movie. “What about men who need to draw a penis everywhere?”
“Feminist Repost” has its own counterattack Tour de FranceTravel through national towns and cities, big and small, and meet “strong, united, bad” young women who fight patriarchy. Their activity is a fun activity supported by sorority (“like a witch on a cauldron”, their footage of stirring glue and hot water in a pot is a special pleasure). But they are also stubbornly paying attention to the urgency of their cause in countries with high femicide rates.
Throughout the film, Perenez and Depardon remain silent observers, maintaining an atmosphere of understanding and solidarity that pervades the group’s discussions. University Rest assured, open and break through difficult subjects.
“It surprised me when someone first told me,’I believe in you,'” says one activist who talks about the personal challenges she experienced. “Thanks to MeToo, I realized I wasn’t alone and I wasn’t responsible,” another person adds. Discussions often touch on the subject of violence as a useful and legitimate tool for “rebellion.”
“Touch one of us, we’ll fight back,” warns the plastered slogan, indicating that it’s ready to be repaid in kind. In one powerful scene, a feminist march silences, drives out a group of anti-abortion activists and overwhelms them with a shout, “My body, my choice, close your mouth now!”.
France24 co-directed the film with the production of “Feminist Repost” University To the best film festival in the world.
The movie conveys the liberating effect of gluing the message to the wall and “playing” it. How did you shoot those scenes?
Marie Perenez: The act of painting the wall with a slogan is just as important as the message itself. It’s the overall idea behind the reuse of public space. This space, where women are usually unwelcome, well, you have to insist on it day and night, and you have to state clearly that you have all the rights to be there.
We tried to back up this concept of diversion by shooting the scene and arranging the camera. It was almost scary, stressful and urgent, as the unstable handheld camera didn’t want to look like a news report of “stealing” images. Instead, we put the camera on a tripod. The idea is to insist on the street with them ( University) And with their actions, emphasize the fact that they have all the rights to be there.
Simon Dupardon: Our aim was to be politically committed and to make something like a movie. I didn’t want to do a series of interviews with the history of the movement, the camera. instead of, UniversityIt will be screened at the cinema and will be at the end of the time.
How important was it to you to cover the whole of France?
MP: As is often the case with movies dealing with political subjects, we decided not to stop in Paris. We wanted to travel the country, meet different kinds of people, and explore the peculiarities of each town or city. He also wanted to show the connection of young activists who do not know each other but act with the same determination and courage throughout the country.
SD: The poster was also an excuse, an opportunity to film young French people, and a generation of political involvement that was not indifferent at all. We wanted to counter the idea that the rural areas of the country were lost on the far right. Young people want to participate in the democratic life of the country. Not necessarily throwing ballots, but using paint, glue and paper, without asking for permission.
Your film emphasizes the inclusive nature of the movement and the fight against all forms of discrimination. It does not touch on the issue of transphobia and biological sex. Was it a conscious decision?
SD: Our film is not a comprehensive survey of feminism. While traveling the country, the atmosphere we got was one of the sadness and great desire to change things, especially with regard to femicide. The issue of transphobia was taken up in the discussion, but to some extent, not as a source of division. I didn’t want to be more important than what I actually witnessed on the ground.
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MP: We were disappointed to see that the movement’s media coverage often gave a distorted, almost caricature-like vision. We wanted to remain loyal to the young women we met. These are complex issues and our film is not the complete history of the movement.It is based on 10 groups University Of the 200 or so in France, the (transphobic) problem was not a source of tension.
The University It had a big influence on the festival. What’s next to them?
SD: I was happy that many people were united. University From all over the country here in Cannes. They were exposed to social media, but I hadn’t met them before, so it was very moving to see them gathering at the festival. They seized the opportunity to do something spectacular on the red carpet. It is important to have such a powerful image in order to visualize the cause.
MP: The poster is more of a tool than a movement and can be placed on a small street at night or on the red carpet in Cannes. We are talking about something that is multifaceted and that continues to evolve. Our concern was to leave traces of movements belonging to a particular time. This is the post-Covid moment when people feel the need to express themselves and change things. Even after the poster is over, the determination remains and is expressed in some way. Our movie is not about posters. It’s about young women fighting for a cause.